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As the creator of the Hot or Not threads, I'm thinking you're a little bias.
...but then again so am I. Not just for obvious reasons either, her character is really well done.
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As the creator of the Hot or Not threads, I'm thinking you're a little bias.
...but then again so am I. Not just for obvious reasons either, her character is really well done.
This is the last season of Aaron Sorkin’s HBO series The Newsroom. And that’s a shame, because after several stumbles and false starts, the show has finally found firmer footing. This isn’t an anomaly. Many shows find their way just as they’re headed out the door. (See the last season of Boardwalk Empire.) Who knows why Sorkin finally found the winning formula for his at times bombastic, at times idealistic telling of a modern newsroom? Was it just the artistic freedom of knowing that he was done? And not just done with The Newsroom, but potentially done with TV entirely? Maybe. But there's likely more at play here. Sorkin has spoken out recently about how he thinks both the show and his intentions have been misunderstood. If this third season is the show he intended to make all along, then I’m sorry it took three to get there. Here’s how Sorkin fixed The Newsroom in seven easy steps. Don’t miss out on its stellar swan song.
The Women Problem: The biggest problem with the show’s first two seasons was the odd, flibbertigibbet-type women who populated this company. Yes, Emily Mortimer’s Mac was occasionally good at her job, sure Olivia Munn’s Sloan was a force to be reckoned with. But more often than not, women were literally tripping over themselves, making a mess of their lives, and unable to operate basic technology. The worst case here was Alison Pill’s Maggie, who was nothing if not a problem for Jim (John Gallagher Jr.) and Will (Jeff Daniels) to solve.
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Geez, the end of tonight's episode hurt my heart.
Emily Nussbaum: said:Look, “The Newsroom” was never going to be my favorite series, but I didn’t expect it to make my head blow off, all over again, after all these years of peaceful hate-watching. Don’s right, of course: a public debate about an alleged rape would be a nightmare. Anonymous accusations are risky and sometimes women lie about rape (Hell, people lie about everything). But on a show dedicated to fantasy journalism, Sorkin’s stand-in doesn’t lobby for more incisive coverage of sexual violence or for a responsible way to tell graphic stories without getting off on the horrible details or for innovative investigations that could pressure a corrupt, ***-covering system to do better. Instead, he argues that the idealistic thing to do is not to believe her story. Don’s fighting for no coverage: he’s so identified with falsely accused men and so focussed on his sorrowful, courtly discomfort that, mainly, he just wants the issue to go away. And Don is our hero! Sloan Sabbith, you in trouble, girl.
Clearly, I’ve succumbed to the Sorkin Curse once again: critique his TV shows and you’ll find you’ve turned into a Sorkin character yourself—fist-pounding, convinced that you know best, talking way too fast, and craving a stiff drink. But after such an awful week, this online recap might be reduced to: Trigger warning. The season finale runs next week and thank God for that.
The whole last season felt rushed and crammed into the 6 episodes.